La \u00eenceputul anilor 1900, estetica sculpturii tradi\u021bionale africane a devenit un izvor de inspira\u021bie pentru arti\u0219tii europeni din avangarda artei moderne.<\/p>\n

\u00cen Fran\u021ba, Henri Matisse \u0219i Pablo Picasso, \u00eempreun\u0103 cu al\u021bi reprezentan\u021bi exponen\u021biali ai \u201c\u0218colii de la Paris\u201c, au combinat reprezentarea figurii umane \u00een stil african cu maniere picturale derivate din lucr\u0103rile post-impresioniste ale lui Cezanne \u0219i Gauguin.<\/p>\n<\/div>\n

Planeitatea rezultat\u0103 din pictur\u0103, paleta de culori vii \u0219i formele cubiste fragmentate au fost elemente definitorii ale modernismului timpuriu. De\u0219i ace\u0219ti arti\u0219ti nu cuno\u0219teau simbolistica original\u0103 \u0219i utilitatea ritualic\u0103 a obiectelor de art\u0103 african\u0103<\/a><\/span>, au recunoscut imediat\u00a0 aspectul spiritual al compozi\u021biilor sculpturale \u0219i au adaptat aceste calit\u0103\u021bi la eforturile lor de a se deta\u0219a de naturalismul care a definit arta occidental\u0103, \u00eencep\u00e2nd cu perioada renascentist\u0103.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 masc\u0103 ceremonial\u0103 Pwoom Itok. Cultura tribal\u0103 Kuba ( Congo )\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00een oferta www.artantik.ro<\/a><\/span><\/span><\/figcaption><\/figure>\n
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Pictorii expresioni\u0219ti germani, precum Ernst Ludwig Kirchner, din grupul \u201cDie Br\u00fccke\u201c (Podul), au \u00eembinat cu o mare intensitate emo\u021bional\u0103, tonurile de culoare disonante \u0219i figurile distorsionate pentru a descrie angoasele vie\u021bii moderne.\u00a0 Utliz\u00e2nd aceste repere, Paul Klee din grupul\u00a0 “C\u0103l\u0103re\u021bul Albastru”\u00a0 a dezvoltat imagini simbolice transcendentale. \u00cen anul 1910, dup\u0103 expozi\u021bia lui Gauguin (Dresden), interesul expresioni\u0219tilor pentru arta non-occidental\u0103 s-a intensificat semnificativ. Tot \u00een aceast\u0103 perioad\u0103, mi\u0219c\u0103rile moderniste din Italia, Anglia \u0219i Statele Unite au ini\u021biat contacte cu arta african\u0103 prin intermediul arti\u0219tilor din grupul \u0218colii de la Paris.<\/p>\n
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$\"p1\"$ <\/a>
\u00a0 \u00a0 \u00a0 \u00a0 Ernst Ludwig Kirchner – “Autoportret cu model”\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Paul Klee – “Cap german cu musta\u021b\u0103”<\/span><\/em><\/span><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n
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Ace\u0219ti arti\u0219ti avangardi\u0219ti, dealerii lor \u0219i criticii de art\u0103 au fost printre primii europeni care au colec\u021bionat sculpturi africane, apreciind valoarea lor estetic\u0103.<\/p>\n
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\u00cencep\u00e2nd cu anii 1870, \u00een urma cuceririlor coloniale \u0219i a expedi\u021biilor \u0219tiin\u021bifice, mii de sculpturi africane au ajuns \u00een Europa.\u00a0 Acestea au fost expuse \u00een prestigioase muzee din Paris, Berlin, Munchen \u0219i Londra. Totu\u0219i, \u00een aceea\u0219i perioad\u0103, multe dintre aceste obiecte au fost tratate ca artefacte ale culturilor colonizate \u0219i consider\u00e2ndu-se c\u0103 nu au valoarea economic\u0103 a unor obiecte de art\u0103, au fost v\u00e2ndute drept curiozit\u0103\u021bi, \u00een pie\u021bele de vechituri.
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\u00cen anii 1930, adep\u021bii curentului suprarealist au fost la r\u00e2ndul lor atra\u0219i de arta non-occidental\u0103, ace\u0219tia redescoperind veleit\u0103\u021bile artistice a ceea ce se considera, \u00een perspectiva european\u0103, ca fiind o form\u0103 de art\u0103\u00a0primitiv\u0103. <\/span><\/span><\/div>\n
Arti\u0219tii moderni\u0219ti au fost atra\u0219i de sculptura african\u0103<\/a><\/span> datorit\u0103 abord\u0103rii sale sofisticate \u0219i a modului \u00een care aceasta capteaz\u0103 prin abstractizare esen\u021ba emo\u021bional\u0103\u00a0\u0219<\/span>i spiritualitatea personajelor ilustrate.<\/span><\/span><\/div>\n

\n<\/span><\/span><\/span><\/p>\n
$\"arta$
Relicvar Bieri, cultura tribal\u0103 Fang<\/span><\/span><\/figcaption><\/figure>\n
Un exemplu elocvent este acest artefact \u201eBieri\u201d apar\u021bin\u00e2nd culturii tribale Fang (Gabon). Pies\u0103 dintr-un ansamblu relicvar dat\u00e2nd de la sf\u00e2r\u0219itul secolului al XIX \u2013 \u00eenceputul secolului XX. Lucrarea provine din colec\u021bia lui Jacob Epstein, fiind achizi\u021bionat\u0103 \u00een anii 1920.<\/span><\/span><\/p>\n<\/div>\n
Poporul Fang are o lung\u0103 continuitate istoric\u0103\u00a0\u0219<\/span>i o coeziune spiritual\u0103 exprimat\u0103 printr-un cult ancestral cunoscut sub numele de Bieri.<\/span><\/span><\/div>\n
Figurile Bieri exemplific\u0103 calit\u0103\u021bile poporului Fang \u2013 calmitate, vitalitate \u0219i abilitatea de a men\u021bine contrariile \u00een balan\u021b\u0103. Aceste idealuri sunt prezentate \u00een formele echilibrate ale sculpturilor figurative.<\/span><\/span><\/div>\n
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Aceast\u0103 lucrare se remarc\u0103 prinsimetria sa echilibrat\u0103 \u0219i prin juxtapunerea liniilor drepte \u0219i a curbelor sinuoase.<\/span><\/span><\/div>\n
\u00cen societatea Fang, reprezent\u0103rile sculpturale produse pentru cultul Bieri, au fost accesorii depuse \u00een raclele mormintelor.
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Reprezentarea fizionomic\u0103 a fost generalizat\u0103 \u0219i separat\u0103 de specificul individual \u0219i f\u0103r\u0103 a reda strict tr\u0103s\u0103turi fizice personale, ea simboliz\u00e2nd caracteristicile esen\u021biale ale unei \u00eentregi semin\u021bii. Aspect valorizat \u0219i prin faptul c\u0103, \u00een interiorul m\u0103\u0219tii<\/a><\/span> se afl\u0103 un recipient \u00een care<\/span><\/span>sunt depozitate <\/span><\/span>moa\u0219te ale str\u0103mo\u0219ilor.<\/span><\/span><\/span><\/div>\n
“Masca”\u00a0 poate fi considerat\u0103 o \u00eentrupare a spiritului str\u0103mo\u0219ilor, fiind \u00een sens artistic, o reprezentare abstract\u0103 \u0219i nu una naturalist\u0103.<\/span><\/span><\/div>\n
Planeitatea exagerat\u0103 a fe\u021bei \u0219i lipsa afectului, este o tr\u0103s\u0103tur\u0103 frecvent evocat\u0103 \u0219i \u00een pictura \u0219i sculptura modernist\u0103.<\/span><\/span><\/div>\n
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$\"$ <\/a>
\u00a0 \u00a0 \u00a0 \u00a0“Domni\u0219oarele din Avignon” – Pablo Picasso<\/span><\/figcaption><\/figure>\n
Picasso m\u0103rturisea faptul c\u0103 studiul sculpturilor africane l-a ajutat s\u0103 \u00een\u021beleag\u0103 scopul lui ca pictor, care nu a fost doar acela de a se distra cu imaginile decorative, ci de a media \u00eentre realitatea perceput\u0103 \u0219i creativitatea min\u021bii umane. Astfel, spunea artistul, a fost <\/span>\u201cexorcizat\u201d\u00a0 de teama de necunoscut, oferindu-i acestuia o form\u0103. <\/span><\/span><\/p>\n<\/div>\n
Reg\u0103sim aceast\u0103 influen\u021b\u0103 \u00een chiar lucrarea ce avea s\u0103 devin\u0103 piatra de temelie a artei secolului XX: \u201cDomni\u0219oarele din Avignon\u201c. Finalizat\u0103 \u00een anul 1907, dup\u0103 sute de schi\u021be prag\u0103titoare, pictura se remarc\u0103 prin fa\u021betele corpurilor feminine \u0219i prin chipurile compuse \u00een maniera unor m\u0103\u0219ti africane.<\/span><\/span><\/div>\n
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Pe parcursul perioadei cubiste, Picasso a continuat realizarea unor lucr\u0103ri cu reprezent\u0103ri de m\u0103\u0219ti-fete <\/span>compuse din volume geometrice fragmentate: \u201eBust de b\u0103rbat\u201d , \u201eCap de femeie\u201d, \u201eFemeie st\u00e2nd \u00een fotoliu\u201d.
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$\"pablo$ <\/a>
\u00a0 \u00a0 \u00a0 \u00a0 “Femeie st\u00e2nd \u00een fotoliu ” – Pablo Picasso\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0“Cap de b\u0103rbat” – Pablo Picasso<\/span><\/figcaption><\/figure>\n
Un membru t\u00e2n\u0103r al \u0218colii de la Paris, Amedeo Modigliani, a fost un contact cheie \u00eentre \u0218coala de la Paris \u0219i arti\u0219tii futuri\u0219ti din Italia. Modigliani a fost un caz singular, introduc\u00e2nd \u00een crea\u021biile sale influen\u021bele stilistice ale artei tribaleBaule (Coasta de Filde\u0219). Modigliani a realizat schi\u021be ale unor fe\u021be alungite de forma unei inimi “\u00eengustate”, \u00een care a plasat o gura deosebit de mic\u0103, pu\u021bin mai sus de b\u0103rbie.<\/span><\/span><\/p>\n<\/div>\n<\/div>\n
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$\"veche$ <\/a>
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Masca tribal\u0103 Baule\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Sculptur\u0103 Amedeo Modigliani – “Cap”<\/span><\/figcaption><\/figure>\n
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Mai t\u00e2rziu, a adaptat acest stil facial distinct \u00eentr-o serie de sculpturi, inclusiv \u00een lucrarea \u201eCap de femeie\u201d (1912),\u00a0p\u0103str\u00e2nd aceast\u0103 influen\u021b\u0103 \u0219i \u00een pictura \u201eNud culcat \u201d (1917).
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$\"modigliani,_nud_culcat_vazut_din_spate\"$ <\/a>
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Amedeo Modigliani – “Nud culcat”<\/span><\/figcaption><\/figure>\n<\/div>\n
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$\"02-ultima-ora\"$ <\/a>
\u00a0 Constantin Brancusi: \u201eCap de copil”<\/span><\/figcaption><\/figure>\n
Constantin Br\u00e2ncu\u0219i, prieten cu Modigliani \u0219i vecin cu acesta \u00een atelierul din Montparnasse, a \u00eembr\u0103\u021bi\u0219at \u0219i el arta african\u0103, aseman\u00e2nd aceast\u0103 tehnic\u0103 de sculptare \u00een <\/span><\/span>lemn cu cea tradi\u021bional\u0103 rom\u00e2neasc\u0103. <\/span><\/span><\/p>\n<\/div>\n
\u00cen anul 2010, Br\u00e2ncu\u0219i<\/span>este reprezentat \u00een Expozi\u0163ia \u201c Afro-Modern: C\u0103l\u0103torii prin Atlanticul negru \u201cdin Liverpool, prin sculptura \u201eCap de copil\u201c. Realizat\u0103 \u00een lemn, \u00eentre 1919 \u015fi 1923, ea \u00ee\u0219i poate revendica ascenden\u0163a nu numai \u00een arta neagr\u0103, dar \u0219i \u00een ciopliturile \u00een lemn din Rom\u00e2nia.<\/span><\/span><\/div>\n<\/div>\n
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$\"1308071304Brancusi,$ <\/a>
\u00a0 \u00a0 Constantin Br\u00e2ncu\u0219i: “Negresa blonda”\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 sculptur\u0103 \u00een marmur\u0103<\/span><\/figcaption><\/figure>\n<\/div>\n<\/div>\n
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Cea mai edificatoare influen\u021b\u0103 african\u0103 \u00een arta lui Br\u00e2ncu\u0219i este\u00a0 sculptura \u201eNegresa blond\u0103\u201c<\/span><\/span> (1926). Realizat\u0103 \u00een maniera esen\u021bializat\u0103 obi\u0219nuit\u0103 a artistului, lucrarea pare a fi portretul unei negrese pe care artistul a \u00eent\u00e2lnit-o la Marsilia.<\/span><\/span><\/p>\n
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$\"Picasso-Tete-de-marie-therese-410\"$ <\/a>
\u00a0 \u00a0 Pablo Picasso – ” Tete de Marie-Therese “<\/span><\/figcaption><\/figure>\n
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Influen\u021be ale artei africane sunt reg\u0103site \u0219i \u00een operele de maturitate ale lui Picasso \u0219i Matisse. C\u00e2teva dintre portretele\u00a0 Mariei-Therese Walter, t\u00e2n\u0103ra metresa a lui Picasso (din perioada 1927-1935), fiind inspirate de estetica m\u0103\u0219tilor tribale Grebo \u0219i Nimba, aflate \u00een colec\u021bia sa personal\u0103.<\/span><\/span><\/p>\n<\/div>\n
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$\"p6\"$ <\/a>
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Masc\u0103 tribal\u0103 Grebo\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Sculptur\u0103 tribal\u0103 Nimba – “Baga D’Mba-Yamban” <\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Lucrare v\u00e2ndut\u0103 \u00een licita\u021bie Christie’s \u00a0<\/span><\/span><\/figcaption><\/figure>\n
Matisse, descendent al unei familii cu o lung\u0103 tradi\u021bie \u00een arta \u021bes\u0103toriei, a de\u021binut \u00een colec\u021bia personal\u0103 mai multe \u021bes\u0103turi tradi\u021bionale triburilor Kuba (Congo), precum \u0219i \u021bes\u0103turi\u00a0 opulente din Africa de Nord \u0219i Europa de Est.<\/span><\/span><\/span><\/p>\n<\/div>\n
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$\"h2_1999.363.46\"$ <\/a>
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Henri Matisse\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 “Flori de z\u0103pad\u0103\u201d (1951)<\/span><\/span><\/figcaption><\/figure>\n
\u00a0<\/span><\/span><\/span><\/p>\n
$\"kuba-cloth-43-p\"$ <\/a>
\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Veche \u021bes\u0103tur\u0103 tribal\u0103 Kuba<\/span><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
\u00a0\u021aes\u0103turile Kuba, care au r\u0103mas \u00een colec\u021bia personal\u0103 p\u00e2n\u0103 la moartea sa, erau realizate manual din fibre de palmier rafie, dat\u00e2nd din secolul al XIX-lea.\u00a0 \u00centr-o coresponden\u021b\u0103 privat\u0103 cu sora sa, Matisse indica aceste \u021bes\u0103turi ca surs\u0103 de inspira\u021bie pentru colajele sale, lucr\u0103ri majore din ultima parte a vie\u021bii.\u00a0 Acesta \u00eei m\u0103rturisea surorii faptul c\u0103 expune pe pere\u021bii atelierului \u021bes\u0103turile Kuba, a\u0219tept\u00e2nd ca \u00een urma contempl\u0103rii acestora s\u0103 fie atins de inspira\u021bia creativ\u0103.<\/span><\/span><\/span><\/span><\/p>\n
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\u00cen epoca contemporan\u0103 postcolonial\u0103, influen\u021ba esteticii tradi\u021bionale africane a fost at\u00e2t de profund inclus\u0103 \u00een practica artistic\u0103, \u00eenc\u00e2t rareori mai este evocat\u0103 ca atare.<\/span><\/span><\/div>\n<\/div>\n<\/div>\n
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Prin analiza \u00eentregului spectru ce a influen\u021bat arta moderni\u0219tilor timpurii, \u00een epoca contemporan\u0103, arta african\u0103 nu mai este etichetat\u0103 drept una primitiv\u0103. <\/span><\/span><\/div>\n
\u00cen prezent, acum c\u00e2nd asistam la o globalizare accelerat\u0103 a artei, r\u0103m\u00e2ne s\u0103 punem \u00een discu\u021bie diferen\u021bierea artei tribale africane de arta african\u0103 contemporan\u0103 \u0219i, \u00een mod special, de crea\u021biile artizanat-souvenir.
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Redactare: Neagu C. Andrei<\/em><\/div>\n
manager ArtAntik.ro<\/em><\/div>\n
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Surse documentare :<\/span><\/em><\/div>\n
Cercet\u0103ri \u0219i document\u0103ri personale <\/span><\/em><\/div>\n
Denise Murrell – ” African Influnces in modern art ” – Departamentul de istorie a artei \u0219i arheologie.<\/span><\/em><\/div>\n
Universitatea Columbia. U.S.A<\/span><\/em><\/div>\n
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<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
La \u00eenceputul anilor 1900, estetica sculpturii tradi\u021bionale africane a devenit un izvor de inspira\u021bie pentru arti\u0219tii europeni din avangarda artei moderne. \u00cen Fran\u021ba, Henri Matisse \u0219i Pablo Picasso, \u00eempreun\u0103 cu al\u021bi reprezentan\u021bi exponen\u021biali ai \u201c\u0218colii de la Paris\u201c, au combinat reprezentarea figurii umane \u00een stil african cu maniere picturale derivate din lucr\u0103rile post-impresioniste ale lui […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[66,61,60,59,65,64,62,63],"class_list":["post-75","post","type-post","status-publish","format-standard","hentry","category-articole-documentare","tag-abstractionism-arta-africa","tag-antichitati-africa","tag-antichitati-africane","tag-arta-africana","tag-arta-tribala","tag-influentele-artei-africane","tag-magazin-antichitati","tag-masca-africana"],"_links":{"self":[{"href":"https:\/\/www.artantik.ro\/blog\/wp-json\/wp\/v2\/posts\/75","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artantik.ro\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artantik.ro\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artantik.ro\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artantik.ro\/blog\/wp-json\/wp\/v2\/comments?post=75"}],"version-history":[{"count":132,"href":"https:\/\/www.artantik.ro\/blog\/wp-json\/wp\/v2\/posts\/75\/revisions"}],"predecessor-version":[{"id":1119,"href":"https:\/\/www.artantik.ro\/blog\/wp-json\/wp\/v2\/posts\/75\/revisions\/1119"}],"wp:attachment":[{"href":"https:\/\/www.artantik.ro\/blog\/wp-json\/wp\/v2\/media?parent=75"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artantik.ro\/blog\/wp-json\/wp\/v2\/categories?post=75"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artantik.ro\/blog\/wp-json\/wp\/v2\/tags?post=75"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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